the first killing? yeah. remember he said he went out for a drive? then refused to give us his route. we had a thought. rattenbury? eight minutes past midnight. same time as the first murder. he's off the hook, whether he'd have liked it or not. but this is... the exact spot where he died last night. rattenbury's been going back there regularly. such a personal thing-- no wonder he wouldn't tell us about it. so, this suicide note... is a lie. such a public figure. why confess to something he hadn't done? what if he was trying to protect someone? (groans) we've been through this 100 times. mum, it's okay. i went looking for jess and got waylaid. why? coleman. i was showing him how to make a margarita. that's easily confirmed. and just for the record, wednesday night... i told you, i never went near hadley. i left hope outside college. my head was spinning. i mean, only footballers get married at 22, right?

are we finished now? daniel checks out. there's a queue of grateful cocktail drinkers who swear he was never near the maze. if tom rattenbury wasn't covering for his son who was he protecting? the wife? cecile? drowning a fit young man in his bath? stab a big, strong lad in the back? besides which, same problem with her as with tom: she'd have known she was killing the wrong man. no, what's-his-name marc cotton, did his alibi stand up? yep, solid-- potempka went to battle. (phone ringing) here's your chum. hope: thank you so much. if you could just dump it all by the porter's lodge. see? chivalry is alive and kicking. given the right encouragement. i'm so glad you're here. i wanted to say good-bye. oh? i'm being airlifted back to reality. papa's orders. what about daniel? collateral damage. something like that. he was meant to be here, see me off.

who knows? maybe he had a better offer. actually, i'm kind of relieved. oh, don't say that. oh, why not? couple of weeks, he'll be so over me. i was going to mail this to him. i don't suppose... no problem. thanks. thank you all so much. i really appreciate it. all done? thanks. well... good luck. and hey, that offer is still open. my dad can always use a good man. hope? what is it that i'm not seeing? the night you got engaged. tell me, if only for daniel's sake. you'll probably find him down by the boathouse. ask him again. ask him what? try to catch him on his own this time.

hope asked me to give you this. what do you think? pretty? can we go through it again? you left hope outside the college... give it up. please, daniel. you'd forgotten? the ring. so? so i went to pick it up. where? in the car. i thought you told me it was at home. yeah? you went home, daniel. what did you see?

what did you see?! early hours of thursday morning just a couple of short hours after the first murder you were seen by cecile's son. he came home to pick up his engagement ring and walked in on the pair of you. yes, poor chap. i'd call that a rude awakening. i suppose you've always been infatuated with cecile? that wager you had with tom rattenbury when you were students-- what was the stake again? ten pounds? bit more than ten quid, wasn't it? you lost out on the love of your life. well, he was welcome to her. she was out of my league. still, a man can have delusions of grandeur, can't he? (laughing) piss in the wind. either charge my client, or let him go. this is a search warrant for your rooms, dr. canter. well, tell them not to break anything, for god's sake. ah, there's no worries on that score.

forensics are painstakingly precise. they'll crawl over every square inch until they find a match with mullan's place. recording: you have one message. man: alex, sorry to chase but we didn't see you earlier. are you coming in next week, or...? sorry. got to go. (beep) recording: message one. man: alex, sorry to chase but we didn't see you earlier. are you coming in next week, or...? sorry. got to go. (beep) canter kills alex hadley and later that night he comes round here to your place for half an hour on the fireside rug. it was considerably shorter than that. do you know, i had a terrible feeling it was his first time? well, i hope it lived up to the billing. oh, for heaven's sake. manfred turned up in a state because of one of his students. anyway, it was all very silly and not to be repeated. a sympathy shag.

isn't that what you call it? tom and i were always very forgiving about these sort of things. where is my bloody phone? he was a close friend of your husband's. (sighs) you make it sound so salacious. there's nothing less salacious than a dead body. i've been around a few. and there was i, thinking it was your aftershave. mrs. rattenbury, stop! no! no. you stop. and answer me this. in this exotic revenge fantasy of yours-- why now? i mean, why would i possibly want to kill steven mullan now? when i have been building, brick by brick, a fu... (sniffles) ...a future for my family? unlike tom, i don't wallow in what can't be helped.

now, if you'll excuse me i have a husband to bury. (phone buzzing) recording: you have one new message. message one. rattenbury: ceel, it's me. half my life pummeling christ... and here i am...

are you lost? in the forest? i keep thinking, if i stare at it long enough... you're in danger of turning into one of our regulars. where exactly is this vanishing point anyway? out there in the dark... mind you don't lose your footing. you think we're barking up the wrong tree? well, i think we're missing something. why would tom rattenbury go to his grave to protect his wife's lover? and why now, as she said. what would drive a woman like cecile, after all this time, to conspire in murder?

out there in the dark. she didn't know who he was. miss wheeler?! yes. this man-- is he one of your regulars? yes. you're sure? yes, great stocky fellow. when was this? oh, it was months ago. i wouldn't normally remember, only, he had someone with him. a girl in a wheelchair. thank you, miss wheeler. so jessica sent the postcard to mullan. a lover's rebuke. come back to her be there for her. she said she'd never met him. oh, she met him, all right. he probably trailed after her, waiting for his chance wanting her forgiveness. and when she asked him his name when he had the chance to tell her the truth, he bottled it. he said that he was... alex hadley. maybe he just couldn't bring himself to tell her.

how did you work it out? that painting. all those hunters in the forest. she was one of them. reaching out for someone to hold onto. blind grope in the darkness. but she was misled. she had no idea it was him. where were they meeting? wheeler says they haven't been here for months. that's right, and that postcard was only sent last week. man (recording): alex, sorry to chase but we didn't see you earlier. are you coming in next week, or...? sorry. got to go. (clamoring in background) (beep) his work? yeah, but why say next week on a thursday evening? he worked full-time, didn't he? (beep) man: you coming in next week, or...? sorry. got to go. (clamoring in background) what's that? sorry. got to go. (clamoring in background) echoes. kids? sorry. got to go. (clamoring in background) swimming pool. oh, not again. is your daughter at home? i expect so, but if you think

you're going to go and disturb her... she said she was going for a swim. she didn't tell me. lewis: st. margaret's in summertown? get over there fast! ♪ ♪ 2:30 every thursday, was it, this swimming club for the disabled? we don't do that word.

no, of course. sorry. still, it must take some organization. i mean, apart from the staff you'd have to draft in extra part-time helpers so that it's one-on-one. strong swimmers, physically fit. like steven mullan. lewis: they just wanted somewhere they could meet. where no one would stare at them. a bit of fun physical contact.

you saw them, didn't you? cecile: no. lewis: and jessica's injuries-- they were yours, too. isn't that what compassion is? fellow suffering? fellow sacrifice. and you played your part. jacked in the brilliant career to be an unpaid physio. and there's your daughter, imagining she can just fall in love with who she wants. touching her letting her believe he was someone else. (tires squealing) you persuaded canter to kill him. your idea, was it? the drowning? pity he got the wrong bloke.

and of course you got your man "second time lucky." you must have guessed that he and jessica would want to meet up on the night of her party, so that he could explain, ask for her forgiveness. what i can't see is what would make your husband take the blame? why die to protect a man like manfred canter? damn. i'm not used to... to this knife? where is your best knife mrs. rattenbury? "i'm not used to being interrogated," i was going to say. (heavy breathing)

(coughing, gasping) i didn't kill him. i didn't kill anyone. would you do something for me? hmm? would you please try not to hate him? steven? i see now he only lied because he wanted to help me. her lie... ...her lie was like poison. whose lie? what a thing to say-- my mother is like poison. (cell phone ringing) jessica, darling. are you all right? daniel: jess, what happened? is she all right? yeah, she's fine. thank you. what on earth were you thinking of? jess, what were you doing? have you got a blanket for her? another one, please. she confess yet? (ringing continues) almost. lewis. we've got him. one dinner jacket,

found in your bathroom under the floorboards. and not just wine stains anymore. mullan's blood all over it. forensics will give us chapter and verse shortly. you couldn't bring yourself to chuck it out, could you, dr. canter? no, that's half my trouble. i'm always hanging on to things i should have let go of. i have a feeling i was wearing this when i met her. and there-there was a point when i really thought she was going to be mine. but, then i realized that, um, passion is something that only happens to other people. in life, in... in books, in paintings.

but never to me-- not once, you see. and then... ...then she took my hand. my cecile. i suppose i imagined that if i just did as she asked, i, uh... i don't expect you to understand. well... look at the three of us. can we all please stay strong? for dad's sake.

(door slams shut) aren't you going to ask why he stormed out? i told him, mum. i told him about your lie. what have i done now? i always knew it was steven. deep down. no. no, you didn't. yes, i did. and i loved him anyway. no. yes. and i forgave him. you... i tried to forgive you but i can't. rattenbury: ceel... it's me. half my life pummeling christ. and now i've come to the end of

it i'm chasing redemption. you've told me daniel killed those men. so i'm going to take the blame. and he can walk free. my life for his. on one condition. (crying) clean slate. i hope i'm finally forgiven. (sobbing) (cecile sobbing) hathaway: do you want me to, uh...

no. let them finish. forensics confirmed that the blood on canter's jacket came from steven mullan. so with cecile's confession that's conspiracy to murder. i just wish we could get her for her other crime. mmm? lying to her husband. telling him at the blenheim maze that their son was a murderer. you know, i think she hated him. for the accident? yeah, it was their little secret. but what about this? you tell me. st. christopher. patron saint of travelers. perhaps it just happened to be in his pocket. yeah, maybe. no, here. this way. i thought we were going for a beer. not yet. got a little job for you first. oh, no what are you up to? what was that story jessica rattenbury told you? about the restorative justice program? sitting in a car outside the prison,

her mum said "go through that door, look the man in the eye. otherwise, he'll be stuck in your head forevermore." look, i know your pride's taken a beating. but don't do what ifs. go in there. say good-bye properly. no, i can't. of course you can, go on. lay the ghost to rest. either that, or we feed you to battleship potempka. 80 quid, full body massage. your call. i'll have a pint.

(door closes) ♪ ♪ cumming: stay tuned for more about masterpiece. but first... 10,000. 15? 15, you think? 20,000, 21,000? 600. 20. 18,500. 24. it's at least 40. 4,500 thousand.

650. 20. this textile would be worth about a half a million dollars. half a million? no way. i knew it. it's just a blanket. man: laying on the back of a chair. second man: well, sir, you have a national treasure... wow. a national treasure. congratulations. i can't believe this. innocent: i need a word with the dynamic duo. cumming: inspector lewis is back for more sleuthing in oxford. the desk had a complaint about you two. he said you were both drunk and facetious. we promise not to do it again. good. you see, the principle behind a partnership such as yours is that the junior officer matures to the level of the senior rather than that the senior officer should regress. inspector lewis, on masterpiece mystery! deo online explore our book and film club. pbs.org. this program is available on dvd.

to order, visit shoppbs.org, or call us at 1-800-play-pbs. captioned by media access group at wgbh access.wgbh.org masterpiece is made possible by contributions to your pbs station from:

host: coming up on chesapeake collectibles ... guest: he had quite a history. he was with mcclellan when they crossed into virginia, and was wounded at chancellorsville. i still have the bullets out of his leg. appraiser: most significant libraries would want a copy of almost any book. in fact, even the library of congress apparently doesn't have this. appraiser: what's like the most you paid for some of these pieces? guest: you know, anywhere from $1 to $20, but the average piece is maybe $3 to $5. [ trolley bell rings ]

[ horse hooves clopping ] [ train whistle blows ] [ steam rises ] announcer: chesapeake collectibles is made possible in part by the mpt new initiatives fund founded by irene & edward h. kaplan. major funding is also provided by aarp. jeff gordon: for some this line is a convenience. but for others it's all they can afford. clerk: anything else? woman: no. join the drive to end hunger by visiting drivetoendhunger.org. announ cer: and by center for vein restoration. over 30 million americans suffer from painful, unsightly varicose

veins. we use modern outpatient methods to help bring relief. look better. feel better. live better. hello, i'm rhea feikin. welcome to chesapeake collectibles where your stories and your treasures bring amazing history to life. people have come from far and wide to bring their most prized possessions to our studio, so let's take a look at their treasures. appraiser: you've got a pretty nice pistol here. can you tell me anything about it? do you know anything of the background? guest: well, yeah, it's been in the family for years. great-great grandfather was a captain, his name was walker, in the 21st massachusetts. he had quite a history. he started out as an enlisted man during the civil war and was with mcclellan when they crossed into virginia and was wounded at chancellorsville. i still have the bullets out of his leg. at that point, he was an enlisted man. he had a different gun at that time.

then he became an officer and was wounded in gettysburg again and promoted to captain. i have a lot of his memorabilia at home his swords his wedding pictures. appraiser: you know anything about the pistol itself? guest: well, it's a colt dragoon. i know that it's a rare gun. i don't have a great idea what it's worth. i know it's an expensive piece and i know that it's that eight inch barrel which they only made 150 of. but that's about it. appraiser: this is a colt third model dragoon. as you said, eight inch barrel. it's had -- probably at the time he had it as an officer, ivory grips put on it, which are beautiful. the case that it's in, i would guess he probably had made but it's got an original colt bullet mold, and caps, and an oiler and a tool for it. the flask, i believe probably he had put in it.

i think it's a rifleman's flask. anyway, it's a beautiful pistol. it's got the scene engraving on the cylinder, which is fantastic. you can see everything. i checked the serial number for you and it dates from 1860. guest: right before when the war starts. appraiser: right before the war. and it's one of the last thousand or so of this model that were made. and it really is a fine piece. guest: thanks. appraiser: do you have any idea what its worth? guest: well, you know, kind of a ballpark figure, but i'm really not clear -- like if i wanted to insure it, what i should insure it for? appraiser: well, if you were going to insure it i think that at auction, you're looking at $35,000 to $40,000 dollars. guest: woo hoo hoo! that's nice looking.

appraiser: well, it's a fine fine revolver. and thank you very, very much for bringing it in. guest: it is a pleasure. appraiser: would you tell me about how you came about having this book? did you buy it directly from a dealer? guest: sure, i'd be glad to. yes, i did buy it from a dealer. it was a reputable book seller. my husband and i decided we wanted to get some kind of an interesting investment about 30 maybe even 35 years ago. and we know that he had this cover made for this book. he said it was rare. we couldn't find anything at the time like it and we purchased it. at the time we paid $350 for it. appraiser: have you ever read the book? guest: i haven't. no, you know as a matter of fact as soon as i got to the dedication page i was so afraid that i might rip or tear the pages.

but i'd love to. appraiser: i think it would probably be a fascinating read: "war sketches" by w.p. black and others of arkansas tales of the rebellion containing accounts of hairbreadth escapes thrilling adventures... this sounds very exciting, something that is highly significant. presented by william p. black, william p. black, the author to his old confederate comrade henry hirschfield, and of course this is tales of the rebellion so it would be about the civil war, and the confederate comrade would of course be a confederate soldier. i see the previous dealer had a howes number - howes list, important americana. so he's done his homework, and one thing about it, which is spectacular, is the condition, because this is an extremely delicate book. this paper is made from the cheapest kind of wood pulp as you can see.

guest: so is that a bad thing? appraiser: it's both a bad and a good thing. it's bad in the sense that it's very hard to preserve and it will self-destruct unless it's kept in a fairly dry environment, you don't want either extremely moist or extremely dry but with the cheap wood pulp paper, it just tends to oxidize much more quickly than fine paper. and there's not much you can do to preserve it other than very special expensive treatments. but the good part is that it's in spectacular condition. it has a little problem here on the spine, but the fact that this cover is like this, practically like new is surprising. i checked auction records. in the last 20 years no copy has every come up at auction. i checked addall which is a site for used and rare books, no copies are available there.

i went on to oclc, which lists the holdings of a great many libraries worldwide. i found only four copies all in the united states. one, as you might expect, in arkansas. this is possibly one of five existing books. four are institutionalized. this would be the only one in private hands. so, as far as investment goes, very hard to say because even though it's a very rare book the customers for it might also be scarce. however, most significant libraries would want a copy of almost any book. in fact, even the library of congress apparently doesn't have this. so, even though the potential buyers might be very few there would be enough competition i think for a book like this to bring, i would say, at a minimum, of $2,000, but it could go as high as $4,000 or $5,000.

guest: oh, really? well, that's good to know. appraiser: for a little, fragile paperback, you did very well. guest: oh, great! thank you so much. appraiser: you're welcome. appraiser: i see you brought in a document. where did you find it? guest: a women that i use to work for, after she passed away, i was in charge of getting rid of everything in the house so that it could be sold. her family came in, they took everything that they wanted. and then this was left over in a box with some other things. it ended up being a gift to me from the family. its history in maryland, you know? appraiser: absolutely. it has local interest for local collectors. it has greater value here in maryland in this vicinity than farther away. in california, it would have less value because it's in california rather than maryland. this is an old paper document, and you can read at the top, "state of maryland and the sheriff of baltimore county

has issued a warrant." you can see that part of it was pre-printed and the remainder of it was free hand written in cursive ink. and it was a warrant for this gentleman here, and you can see that it was dated in 1786. it's probably on rag paper and it's been folded. now, what you probably ought to do is conserve it properly in acid-free material and make it flat with a mylar window on the backside because the back of the document has some free hand writing. in the marketplace there are quite a few documents that have survived because people tuck them away just as you found it tucked away. and they have survived intact and legible. they're not terribly valuable unless somebody really famous like washington, or jefferson, or lincoln signed it. so celebrity makes a big difference. so this has local interest but it's not particularly a celebrity

unless this fella right here turns out to be a famous person after we research. so, at auction i would expect this to bring probably about $100. guest: okay. thank you so much. appraiser: you're welcome. thank you for bringing it in. appraiser: thank you. appraiser: what did you bring for us today? guest: well, i have a rug that a friend of mine told me was a navajo eye dazzler. i had it in a sheer chest. i received it in a box from my mother when my grandmother died. appraiser: well, what you have here is a great example of a navajo rug of the period around 1920. now, what happened out west from 1920 to 1940 is there was a new renaissance for weaving rugs. before then, most rugs were woven for the tribes to keep in their tribes. and during the '20s, people would come to these trading posts and say, hey, you've got a great product here and so they started producing and selling rugs pretty much made for the american market.

they kept a lot of their indian tradition, but they sort of mass produced them. that doesn't take away from the quality, they were still great quality. and this particular piece is -- it's definitely from what was known as the vegetable period where they went back completely to vegetable dye. so in this you see this beautiful orange color with all of the patina and the red. the vegetable dyes cause this variation which is known as abrash and that comes from the age of a vegetable dye. one of their popular designs this is called a stacked eye dazzler. the serrated edges all part of the traditional indian weaving. i definitely feel like this is from chinle, arizona from around 1920. so i'd say the value is between $2,000 and $2,500. guest: that's good news. thank you so much. appraiser: glad to be here. rhea: we're forever infatuated with the fast life

and footwork of the swing era. here's a quirky new museum in baltimore that celebrates swing style and dance, and all the jazz. it's tons of fun, hepcat! isn't this an absolutely beautiful shoe? it's not a new shoe, it's an old shoe and it's an old shoe because we're in a shoeseum! men's shoes, women's shoes, and a lot of swing era artifacts. what a great place this is, gay. are you having am good time being here? gay: i love it! it's a labor of love. rhea: i'm sure it is. how did it all start? gay: well, my husband and i are swing dancers, for about 15 years and it's difficult to find the right footwear so we started a brand of dance shoes just for swing dancing

and we had to buy shoes to copy. rhea: ahhh. gay: once you get started, it's kind of difficult to stop. rhea: talk a little bit about some of the wonderful and fascinating artifacts that you have here. gay: we're trying to show people what you would have owned when you were a swing dancer back in the day. and that would be things for your hair, you'd have tickets in your drawer from dances you'd have magazines you'd be looking in catalogues makeup, ties you name it. all the accoutrements of the era. rhea: well, swing dancing was so popular and then it wasn't popular. so what happened to swing dancing? gay: the twist. ♪ let's twist again ♪ really, the twist and a desire to not have to do so much work on the dance floor. rhea: but now people are starting to swing dance again. gay: well, think about it, if your parents have orange mohawks and tongue rings and tattoos

how are you going to rebel? so you'd listen to grandpa's music and wear suits. rhea: what a good way to rebel! gay: swing dancers really... they're crazy for it. they're like sponges. we want to immerse ourselves in the era: watch old movies to get their dance moves read books - just live and breathe the stuff. it's almost a religion. rhea: there are so many shoes here. so i'm gonna pick them up and you tell us what we have here. gay: okay, that is a victorian shoe. and you can see the fancy little spool heel, and a lot of the victorian shoes were very pointy. and then you would use your button hook to fasten your button right here. rhea: what about this? gay: okay, that is quite the fancy shoe. that's from about 1917. that's an edwardian shoe. and you can see that they were still using buttons. and the welt is striped, it's got your patent and your kidskin here;

you got your wooden stacked heel in the back. it's just got everything. rhea: this is beautiful. i think this is a really really elegant shoe. gay: and that is a '20s shoe. you can see all the deco styling on it. and one of the nicer things they did, that they're not doing yet is this gorgeous little tassel. rhea: here's our next one. gay: and that's a '30s shoe. they started getting thicker heels in the '30s, a little bit more girly, little bit less of the deco look. and that is what we call a "south beach sky high," and that would have been on the foot of a very bad girl, and she went out when her mom wouldn't let her out - she must have had to change around the block. rhea: that's why i like this shoe because it's a bad girl shoe! boy, they're all beauties. the shoeseum is absolutely a marvel and i thank you so much for letting us visit. gay: thank you for coming. appraiser: now, what do you have

here? guest: i have the original nasa photo of neil armstrong signed to my family. my father was a d.c. police officer, washington d.c. retired, and as often with the case with government agencies they would hire former d.c. police officers for security type positions, and my father was hired to be the chauffeur for the astronauts. appraiser: now, as everybody knows, july 21, 1969, neil armstrong being the first man to step onto the moon. autograph collectors know that armstrong autographs are hard to find today. how come? guest: well, the reason being, after doing some research, many years ago neil armstrong found out that his barber, where he got his haircut was selling his hair and then he decided after that not to sign anymore autographs. appraiser: well, it's inevitable that people engaged in important events get commercialized and you can't get much more important than landing on the moon. it being the official nasa photograph,

and you say you actually have several others? guest: we have several in the collections, yes. probably about seven or eight. appraiser: okay. and it's endorsed to your father? guest: to the family. appraiser: well, these are top drawer in the world of collecting autographs and always desirable to have the autographed photograph. on today's market, do you have any idea what something like this might bring? guest: we've done a little research, in the thousands of dollars, i don't know exactly. appraiser: while he is still alive, probably in the area of $2,500 to $3,000. and, of course, the price could probably go up. and those space collectibles have gotten increased interest amongst collectors as well. the one thing i would recommend that you do, have it archivally framed. have an acid-free matte be cut by who you take it to so the photograph does not rest on the glass because then you run the risk of -- humidity can get in there and actually cause the print to stick to the glass

and cause the print to be able to deteriorate. but a very important artifact coming right out of the family. no question on its provenance. and i thank you very much for bringing this into chesapeake collectibles . guest: thank you so much. appraiser: tell me a little bit about how you acquired this staffordshire poodle? guest: well, my wife and i were in england and we went to a little town called arundel you would pronounce it a-run-del, but arun-del -- we have cavalier king charles spaniel dogs, and my wife was getting something for a friend of hers and she just fell in love with this piece. appraiser: well, first of all, this one is rather a rare size most of them are much larger than this. and the second thing unusual about this one is the fact that it has a lid on it i've never had one before that had the lid built right on it. guest: well, we were told that it was a lemonade pitcher, and just looked very interesting. appraiser: well, don't forget, they didn't have tupperware and plastic in that day,

everything was kept in pitchers. so there was a lot of pitchers for different things. the date on this is about, well, it was during queen victoria's reign that they became popular and we refer to it as victorian staffordshire 1840 through 1860 is a good date. guest: we didn't know it was that old. appraiser: yes, that old. they exported them all through europe and in amsterdam the bawdy houses would set them in their front windows and if the dog was facing out you were welcome to come in, but if it had its back turned to you it means the occupant was preoccupied. guest: with her occupation. [ laughs ] appraiser: it's a lovely thing. considering the size the condition of it, and the fact that it does still have the original lid, we estimate the value of it to be between $550 and $650. guest: okay. we paid about 70 pounds seven or

eight years ago for it and we really didn't have any idea. appraiser: it has increased in value. guest: oh, that's good! i'm sure my wife will be pleased. appraiser: very good. appraiser: welcome, and thank you for coming here today. why don't you tell me a little about what you brought in? guest: okay, thank you. i garage sale every saturday and these are some of my best pieces i have picked up at garage sales, estate sales, rummage sales, box lots. i decided to bring the prettiest pieces in. appraiser: well, honey, i'm going to go yard saling with you because you have some incredible pieces. do you have any idea what you have? or just kind of thoughts or... guest: some of them -- i used to work at saks fifth avenue jewelry department when they were in owings mills and i used to pick the gemologist's brain every day i was there. so i know some of these diamonds are rose cut diamonds, and the earrings and one ring. the pearls i had a clasp put on so i know they're nice pearls.

but not really as a whole package. appraiser: you have an eye for this. you really do. and you picked the lady's brain, your coworker's brain perfectly because what you have here is a tourmaline and diamond ring. you have a ruby and diamond ring and these all appear to be a minimum of 14 karat. you have ruby and diamond earrings rose cut, like you said. rose cut diamonds in the center, rubies around it. the pearls appear to be cultured freshwater, because they're 10 to 11 millimeters so that's a large size pearl. and then the bar pins you have at the bottom rubies and pearls. and then the other one has the eagle, and then a line cut diamond hanging from the pin itself. do you have any idea what the values of these would be? guest: not exactly. i just know they're pretty and i love the look of estate jewelry, i always have, and a lot of people think it's junk when they sell it in these box lots. appraiser: now, you paid what at yard sales and flea markets?

what's like the most you paid for some of these pieces? guest: you know anywhere from $1 to $20. but the average piece is maybe $3 to $5. sometimes a dollar if i buy a collection, so it's hard to say exactly. appraiser: well, just kind of an estimate in a retail environment, the tourmaline and diamond ring, you're probably looking at $1,500 to $1,800 to $2,000 for that one. the rose cut diamonds with the rubies, $2,000 to $3,000 for this one. the ruby and diamond earrings, these are rose cut diamonds in the center, and they're around a half to say 5/8 of a karat each so the total weight of the diamonds in these earrings are about a 1 1/4 karat. so, i mean you're at around $2,000 for this. the pearl strand, with it being the larger pearls, i mean, $700 to $1,000 that's not including the gold catch which could run you $500 to $700.

and then the bar pins at the bottom the ruby and diamonds. these are about, age-wise, probably around the mid-1800s. guest: i noticed they had the c-clasp on the back, the older clasp, so... appraiser: so, the ruby and pearl, not as expensive as the one with the diamond hanging from the bottom, so that one's $500 to $700 for the pearl. the diamond one, $1,000, $1,500. so you have a nice... guest: collection. appraiser: a very nice collection. and a good eye. well, thanks for bringing those in today. guest: thank you very much. it's a pleasure. rhea: i hope you've enjoyed this week's exploration of our history through our heirlooms. take a look at what's in store next week... appraiser: right before prohibition, they would send out to get a gallon of this at $4 a gallon. guest: oh my word. appraiser: and they would consume it for its medicinal purposes of course. guest: the tavern was an 18th century tavern washington dined there. appraiser: so george washington could have used this bowl.

guest: i know that it has the first edition of poe's "mask of the red death." appraiser: she is a beautiful girl with the flowers, and she's obviously looking up probably no doubt to her lover. see you next time on chesapeake collectibles ! i'm rhea feikin. announcer: chesapeake collectibles is made possible in part by the mpt new initiatives fund founded by irene & edward h. kaplan. major funding is also provided by... center for vein restoration. over 30 million americans suffer from painful, unsightly varicose veins. we use modern outpatient methods to help bring relief. look better. feel better. live better. and by aarp. jeff gordon: for some this line is a convenience. but for others it's all they can afford. clerk: anything else? woman: no. join the drive to end hunger by visiting drivetoendhunger.org.